Editing my Double Page Spread Images - Part 1

Before any of the chosen images could be placed onto the double page spread they needed to be edited in such a manner to improve the initial quality and appearance of how they would display on the document. Editing them would allow me to manipulate the photos in a precise method so certain elements of the body or face could be brought out more effectively to the line of sight if my readers to make them more appealing and intriguing. Not only this but they would ultimately turn out more professional and authentic looking rather then as if they were shot by a college student.

To begin this important process of change, I uploaded onto a blank A4 Photoshop document one of the chosen images to use upon my double page spread that I had decided would be co-operate with the style of article I am intending to create. This photo was imported from the programme Iphoto where it had been in storage since exported from the main LSD camera hardware. Editing the photograph would be fairly straightforward since I had already conducted this method previously with the majority of my other images on various pages. I clicked on the adjustments option that was located on the image tool bar on the right hand side of the document, I then selected the "Levels" preset which dropped down a menu of different editing styles I could employ onto the photo itself to change its consistency/hue/saturation etc.

The primary alterations I stated first was the 'Darker' tone, as what I have witnessed in previous editing trials this has not significantly demonstrated any noticeable differences in the palette of the photo, in fact the only slight manipulation can be seen around the shadows or darker clothing of the models, this setting only focuses upon the already present black scheme and does not offer any benefits to other colours. Once I demonstrated its use on the document, as I predicted this option had only enhanced the black of his jeans whilst ignoring the other palettes, this is not what I desire as I want a complete swap in all of the colours present on the male model, what I mean by this is that I want all of the scheme to be enhanced in some respects not just one part of it (such as his body over his face) as I wanted the reader to notice his entire frame and not one particular aspect of it.) For this reason alone I am vehement on discarding this style from the possibilities of me using as it would not benefit me or my magazine in any respects.

I stepped up the darkness presets by reverting to the 'Midtones Darker' option that the 'Levels' tool offered me. I had used this specific style on the main cover image to see how it would perceive with this change stated into it, that time in particular my experimentation had failed as it had not significantly highlighted the darker areas of the model as I had hoped it may. Unfortunately this was the same circumstance I was encountering again for the editing of my contents photgph. Personally I could not distinguish any noticeable differences with this palette switch when comparing it against the 'Darker' option. the only slight change I could make out was that the shadows surrounding his head, shoulder line and arms had been emphasised in contrast to how they were seen previously. Yet this was not what I desired for my final photograph to display as, as I have stated above I want all of his body and face to be be implored and be emphatic, not just particular segments, plus there is hardlies a change between it and the previous style I tested so it would be fruitless to employ this edit as it contains no enlightenment to me what so ever.

It seemed that the options the 'Levels' preset was offering me were so mediocre that I decided to opt towards altering the hue and consistency of the image by hand, this way I would be able manipulate the colour, shadows and light tones of the photo as much as what I could manage, allowing me first hand to concede to what I wanted my image to display like towards my audience. As you can see I have altered the tones in such a way that the overall quality displays as a lot brighter then before, the facial colours are more prudent and healthy then the pale they were originally, the lightness of the blue and pale red on his top have been focused on more due to me selecting to enhance the light points on them, all these changes have been important as all of him is now attractive and dominant. Previously it was the black on his jeans that personified itself most clearly as this is a palette that normally opposes all others for superiority and the majority of the audience attention with it being so bold. Now they were all in equal competiveness with one another so that none outshone the other, in fact they all co-operated well together as a whole body rather then singularly which is how I imagined this photograph would look. Over the three style I have applied and trialled, changing the hue is the favourite alternative of mine as not only did I have control over the editing process but I managed to create the effect on the photo exactly to my own standards, so I am more swayed to use this over this entirely as it has granted me the style I have sought. However I feel it would be most appropriate to test out a few others as well so I can firmly then decide which is the most beneficial style for me.

On my final trial I adjusted the exposure on the image by selecting it from the menu that is provided to me from the 'adjustments' panel on the tool bar. I took control over the lighting effects by using the bar that had been displayed, I could use the cursor on the mouse to directly drag it up and down, up would create a brighter tone, down would emphasise the shadows and darker areas more substantially.to the visual persepctive. However I was planning on mimicking a lighter effect to illustrate the physical features of my artist successfully, so under this circumstance I over dramatisised the brighter areas, such as where the light of the studio hit his shoulders and face. Once this manouver had been completed it can be recognised that his entire appearance can be noted effectively on the eyes rather then just specific areas, this is what I had described in a previous trial about not wanting the black to be the most prominent feature on the spread. For this case I feel there is an equal apparel in dominance, not as much as before in the hue alteration where all aspects correlated practically but enough that my entire artist can be took into regards. When comparing this to the hue trial I feel this has a more realistic appearance, on the face of my male model when adjusted in the hue setting it made him more orange and therefore more 'photoshopped' or fake looking in that matter. Adjusting the preset of the exposure deterred that from happening while still making him just as attractive and noticeable on the page. For this instance alone I am more preferred to using this alteration over the hue and the remainder of the tests I prescribed.

In context I went with my instinct and decided to opt for the image of my model which I had significantly made alterations to the exposure to.  Now that it is located on the final inDesign document, I feel it perceives itself well, it blends in perfectly with the white background due to it being captured in a studio so there are no issues of conflicting coloured backgrounds. Furthermore I get the impression that the white of the spread illuminates more the posture of the artist, making him appear almost heavenly in a sense, that he is most dominant and therefore deserves every ounce of reader attention. If I had used the hue edit I fear that the darker tones of his face which I had mentioned would be too bold on the white page, drawing too much emphasis which would lose the importance of the remaining conventions and text. Obviously I will have to wait and see how it displays when the second image is uploaded, for now I am appeased with how its presented and I'm hoping it will duplicate the same effect once every element is included on the double page.